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Wiin a Solo Exhibition this June, Open Theme, Final Deadline Friday!
Wiin a Solo Exhibition this June, Open Theme, Final Deadline Friday!
Younes Mohammad
Younes Mohammad
Younes Mohammad

Younes Mohammad

Country: Iraq
Birth: 1968

Younes Mohammad is Born in 1968 in Dohuk, Iraq. He's a Kurdish freelance photographer mostly active on assignments for newspapers, magazines, etc. He spent his life in Iran as a refugee from 1974 - 1998 and graduated with an MBA University of Tehran. Photography was his passion but he had no chance to follow it while the war situation was still continuing Under Saddam's time.

In 2011 he quits his job and starts his journey as a photographer. His work has been exhibited internationally and published widely in publications. He has received numerous awards. He is now based in Erbil, Iraq.

About Open Wounds
"I start to work on a long-term project documenting the sacrifices of Kurdish Peshmerga in the fight to put down ISIS.

Speaking with hundred Peshmerga, taking intimate portraits of the wounded fighters, their families, and documenting both the stories in the battle and their ongoing struggles to navigate post-conflict life. Through the work, I found stories of immense suffering. Fighters who took up arms, not because they were required to do so, but because it was right and it was what had to be done. These men, often fighting side by side with brothers, uncles, cousins, fathers, and sons, knew that the freedom and survival of their people were at stake.

As they retold stories of watching family and friends killed in front of them and of battles they did not expect to survive, they simultaneously shed tears for the losses and for the pride they had in what their comrades and they had done.

Almost all of the men showed severe physical injury. Arms, legs, and eyes lost. Bodies so riddled with bullet and shrapnel wounds that simple movement created wincing pain. These men also showed the signs of the heavy burdens of the mental traumas, of PTSD, and of memories that would not leave them. Despite all they suffered, they often said they would go back to the fight again if ever called. They would do this for their children, their families, their people, and for the wider world.

Tragically, their suffering does not end having returned home. The men face new challenges, such as getting prosthetic limbs, ongoing care, providing for their families despite their debilitating injuries, and more. They wonder, if they would give everything to help protect the world, will the world help them or forget them now that they have put down their guns.

I have hope that, through this work exploring conflict and post-conflict humanitarian issues, the World may better understand what these men and their families have given for the Kurdish people, the region, and, in fact, the world. "
-- Younes Mohammad
 

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More Great Photographers To Discover

Noell Oszvald
Hungary
1990
Noell Oszvald was born in Hungary in 1990. While preferring to be labeled as a visual artist, Noell Oszvald uses the photographic medium as the raw material through which she channels her emotions. Favoring black and white in order to avoid any distraction that may be created by colors, she strips her images to their bare essence. Her compositions rely on pure straight lines into which the subject fuses, hence rubbing off all hierarchy within the components. The resulting sobriety, reinforced by the choice of a square format, acts as a breeding ground to a complex melange of subtle feelings derived from her melancholy and loneliness. Indeed, while all facial features are deliberately kept hidden, Oszvald’s work could easily fall within the self-portrait category; “they’re reflections of who I am,” says the artist about her images. However, the spectral presence of the character merging with its surroundings, the full-fledged role played by the environment and the powerful sensitivity that exudes through, are closer to the conceptual photography of the similarly precocious Francesca Woodman. Yet, more than her self, Oszvald conveys an apparent yet suspicious sense of calmness, well guarded by a perfectly controlled composition. In addition to the lines dividing space, the impeccable geometric interactions and the sharp contrast between the various shades of black are brought into opposition with the muffled silence of her quiescent emotions. It triggers a delicate duality, which underlies a rich and complex inner world. The reassuring perfection of these images acts like a robust armor to the highly sensitive Oszvald, who despite her young age, proves herself to be an accomplished artist. “My aim is to set up concepts using the human body as a base, while not making it the main focus of the picture. The result is a still image that is built around a person, but all parts of the whole are of equal importance. I reduce my pictures to content, composition, and form because this minimalist approach allows me to put equal emphasis on the idea behind the artwork and the entirety of the image. Portraying a sense of calmness with images that are built up based on geometric shapes is a recurring theme of my work.”Source: Artpil Noell Oszvald only shoots in black and white because she finds colors to be distracting. “I feel the same way about clothes and other matters of appearance, which why I like to reduce my images to forms, composition and content.” When asked what the story is behind one of her photo, Prejudice, Noell Oszald shared this, “I had the idea of Prejudice in my mind for a long time before I finally made it. I was very unsure about it, because I wanted the picture to look absolutely the way it does now, but to achieve this composition I had to paint the bird in, in not exactly the right position. I feared people would pick on me and call me ignorant, because the image is not precise. I was afraid of being judged while working on a picture about prejudice. How ironic.” As you look through Oszvald's beautiful and sometimes haunting images, you can't help but feel a mix of emotions. They all fall in the conceptual photography field, meaning, they illustrate an idea but one that Oszald believes should be personal to the viewer. “I don't want to tell people what to see in my images,” explains Oszland, “this is the reason why I never really write any descriptions other than titles. It shows what I wish to express but everyone is free to figure out what the picture says to them. It's very interesting to read so many different thoughts about the same piece of work.”Source: My Modern Met
Sonia Costa
Sonia Costa is an was born in Northeast Italy and is temporarily based in Rome. With her studies in Geography and her passion for nature and worldwide different cultures, she has been traveling the world for years studying the interrelationship between people and environment. Promoting a sustainable tourism with a low environmental impact, she has long worked in Indian Sub-Continent, South East Asia and in the most isolated corners of the planet. Award winning free-lance photographer, she has been taking street and documentary photographs for years. Her essential subject is social life, focusing mostly in ordinary life, cultural stories and contemporary issues, always attracted by old stories, isolated places and people out of the spotlight. Her special passion for intimacy led her to develop portraiture as one of preferred means to interact with people and better understand the human condition. Wandering the planet including its remote regions, she has always been fascinated by the profound resilience with which simple people, especially women and children, face life . In a world submerged by conflicts, she tries to document the beauty and delicacy she can still find out there. In 2016 her first pocketbook was published: "La figlia di Saadi" Ed. Polaris, a tour around the world through short stories and photographs dedicated to the female universe. She published her photographs in magazines and books and exhibited her work in collective and solo shows in Italy and in collective shows in USA and Spain, upcoming in Japan. After being away from photography world for a while, she started to share her photographs just three years ago and be awarded in various International Photography Contests. Tokyo International Awards - IPA International Awards - Julia Cameron Awards - Prix de La Photographie Paris. Nominees and Honorable mentions, Merit of Excellence and Nominees : All About Photo APP Magazine - Monochrome Awards - Fine Art Photography Awards - Pollux Awards - Black and White Spider Awards - International Colors Awards - IPA Street Awards. Ordinary life through an extraordinary year I have always loved isolated places and being able to capture images with few people filling empty spaces I felt, in some way, as I was in my loved remote and lonely journeys. I usually travel and live out of my country months a year. Due to Covid-19 Pandemic, I spent most of 2020 stuck in Italy and luckily, when possible, in other European countries. During the lockdown, I wandered through the deserted cities with my camera, in this project I tried to document the ordinary life of two Italian symbol cities: Rome and Venice. In summertime, Venice had somehow returned to what it once was many years ago, even if in indoor places masks were still compulsory. Without crowds of tourists poured through the narrow streets and the cruise ships that monstrously invaded the lagoon, I could hear my voice again and the silent canals could finally breath. Rome, in late spring and fall, looked like certain sunny summers when the city empties itself for holidays and the sultry heat. Only few people going around by tramways or in empty squares patrolled by policemen with the sound of the sea gulls in the air. Documenting ordinary life along the streets, it was like looking at old photographs during the pandemic Spanish flu in 1918. Used to observe distant countries, see and record the changing world, last year I observed and caught the world through our changing cities.
Ian Teh
United Kingdom
1971
Ian Teh has published three monographs, Undercurrents (2008), Traces (2011) and Confluence (2014). His work is part of the permanent collection at the Los Angeles County Museum of Art (LACMA), The Museum of Fine Arts, Houston (MFAH) and the Hood Museum in the USA. Selected solo shows include the Jack Shainman Gallery in New York in 2004, Flowers in London in 2011 and the Kunsthal Museum in Rotterdam in 2012. Teh has received several honours, in 2018 he was awarded a travel grant from the Pulitzer Centre for Crisis Reporting and presented his work on climate change at the prestigious 2018 National Geographic Photography Seminar. He is also the recipient of the International Photoreporter Grant 2016 the Abigail Cohen Fellowship in Documentary Photography 2014 and the Emergency Fund 2011 from the Magnum Foundation. In 2013, he was elected by the Open Society Foundations to exhibit in New York at the Moving Walls Exhibition. In 2015, during the COP21 Paris climate talks, large poster images of his work were displayed on the streets of Paris as a collaborative initiative by #Dysturb and Magnum Foundation. He is a co-exhibitor in Coal + Ice, an environmental group show of acclaimed photographers and curated by Susan Meiselas. It was exhibited at the Official Residence of the US Ambassador to France during COP21. Teh’s work has been published internationally in magazines such as National Geographic, The New Yorker, Bloomberg Businessweek and Granta. Since 2013, he has exhibited as well as conducted masterclasses at Obscura Festival of Photography, Malaysia’s foremost photo festival. He is a tutor at Cambodia's Angkor Photo Festival since 2014. Teh is a member of the British agency, Panos Pictures.Source: www.ianteh.com Artist Statement: "Much of my artistic creativity stems from my interests in social, environmental and political issues. I imagine my work as a series of short films made out of stills. They are narratives that are built on moments of time collected over extended periods. Each story is a woven fabric of compositional and colour threads that come together to create a particular ambience intended to both emphasize my perspective on the subject matter and to, hopefully, encourage the viewer to take the narrative beyond the limits of my frame, into a direction that makes the experience of those images more vivid. My photographs have been widely exhibited and featured in several international publications such as, Time, Newsweek, The New Yorker and The Independent Magazine. I was recently awarded the 2011 EF grant from the Magnum Foundation and also received a high commendation for the 2009 Prix Pictet award. In 2001 I was part of the Joop Swart Masterclass. With some friends I founded Deep Sleep Magazine an online publication and recently we founded our own imprint Deep Sleep Editions to have more control of the publishing process. I have published two monographs, Undercurrents (2008) and Traces (2011)."
Karen Knorr
United States
1954
Karen Knorr was born in Frankfurt am Main, Germany and was raised in San Juan, Puerto Rico in the 1960s. She finished her education in Paris and London. Karen has taught, exhibited and lectured internationally, including at Tate Britain, Tate Modern, The University of Westminster, Goldsmiths, Harvard and The Art Institute of Chicago. She studied at the University of Westminster in the mid-1970s, exhibiting photography that addressed debates in cultural studies and film theory concerning the ‘politics of representation’ practices which emerged during the late 1970s qnd early 1980s. She is currently Professor of Photography at the University for the Creative Arts in Farnham, Surrey. Karen Knorr produced Belgravia (1979-1981) a series of black and white photographs with ironic and humorous texts that highlighted aspirations, lifestyle and the British class system under the neo liberalist Thatcher era in the late 70’s and early 80’s. Her most well known work called Gentlemen (1981-1983) was photographed in Saint James’s clubs in London and investigated the patriarchal conservative values of Britain during the Falklands war. Karen ’s work developed a critical and playful dialogue with documentary photography using different visual and textual strategies to explore her chosen subject matter that ranges from the family and lifestyle to the animal and its representation in the museum context. In 1986 her work Connoisseurs used colour to explore connoisseurship regarding authenticity, heritage and art in England. Here she introduced elements and staged events in the architectural interiors of Chiswick House, Osterley Park House and the Dulwich Picture Gallery. The use of text and captioning appeared as a device to slow down consumption of the image and to comment on the received ideas of fine art in museum culture. These strategies still appear in her photography today with digital collage of animals, objects and social actors in museums and architecture challenging the authority and power of heritage sites in Europe and more recently in India. Academies (1994- 2001), a series of colour photographs taken in academies and museums across Europe, reflects on the relationship between the production of western fine art, its transmission and consumption. The work continues a critical dialogue with conceptual art, visual culture, feminism and animal studies reflecting an engaged interest in theory and its relation to photographic practice. In 1995 the Academies project included video and installation with wall text transfers in order the explore the relationship between art and science in the staging of transgressive performative events and gestures in museums. Being for Another (1995), an 18 minute video records a young man caressing an 18th century sculpture by Canova in the Victoria and Albert Museum and three lifeclass models enact the lifeclass on the dissecting table of the anatomy theatre of Uppsala University in Lessons (2002). The introduction of a sound glass sculpture with recorded birdsong responded to the furniture and art collection of The Wallace Collection in 2001 synthesizing a 1960’s Pete Seeger song with an actual blackbird’s sound. In her series Fables (2004-2008) photographs mixes analogue and digital photography playfully reconfiguring tales (Ovid, Aesop La Fontaine) with popular culture (Disney and Attenborough) in museums and heritage sites which include Carnavalet Museum, the Museum of Hunt and Nature in Paris, Chambord Castle and the Conde Museum in Chantilly Castle. The visuality of these photographs is rich with reference to the baroque. In the last section of the work, Knorr interrogated the free flowing space of modern architecture in Corbusier’s Villa Savoye reintroducing life into the modernist aesthetic of a building. Since her life changing journey to Rajasthan, India in 2008, Karen Knorr’s work continues to explore Rajput and Mughal cultural heritage and its relationship to questions of feminine subjectivity and animality. India Song, a series of carefully crafted photographs explores the past and its relation to India’s contemporary heritage sites across Rajasthan. Since 2012 Knorr has been visiting Japan to reflect on tradition within contemporary Japan referencing Ukiyo-e prints and folktales connected to Shinto and Buddhist heritage sites.Her first series entitled Monagatari, places animals and humans in temple sites found in Nara, Kyoto, Tokyo and Ohara. Her second related series Karyukai is inspired by the Kano’s 36 portraits of poets also referencing “bijinga” prints of the 17th century. Women photographed by Karen Knorr were asked to compose waka and haiku reflecting on their life and dreams. Source: karenknorr.com About India Song Karen Knorr’s past work from the 1980’s onwards took as its theme the ideas of power that underlie cultural heritage, playfully challenging the underlying assumptions of fine art collections in academies and museums in Europe through photography and video. Since 2008 her work has taken a new turn and focused its gaze on the upper caste culture of the Rajput in India and its relationship to the "other" through the use of photography, video and performance. The photographic series considers men's space (mardana) and women's space (zanana) in Mughal and Rajput palace architecture, havelis and mausoleums through large format digital photography. Karen Knorr celebrates the rich visual culture, the foundation myths and stories of northern India, focusing on Rajasthan and using sacred and secular sites to consider caste, femininity and its relationship to the animal world. Interiors are painstakingly photographed with a large format Sinar P3 analogue camera and scanned to very high resolution. Live animals are inserted into the architectural sites, fusing high resolution digital with analogue photography. Animals photographed in sanctuaries, zoos and cities inhabit palaces, mausoleums , temples and holy sites, interrogating Indian cultural heritage and rigid hierarchies. Cranes, zebus, langurs, tigers and elephants mutate from princely pets to avatars of past feminine historic characters, blurring boundaries between reality and illusion and reinventing the Panchatantra for the 21st century.
Sirkka-Liisa Konttinen
Sirkka-Liisa Konttinen is a Finnish photographer who has worked in Britain since the 1960s. She was born in Myllykoski, municipality of Sippola (from 1975 part of the town of Anjalankoski, from 2009 part of the town of Kouvola), Finland in 1948. Konttinen became interested in photography at the age of 12 and was a member of a photography group in a nearby town. Intending to pursue photography as a career, she was apprenticed to a fashion photographer in Helsinki for a year. Konttinen studied photography in London in the 1960s, and cofounded the Amber Collective, which moved to the northeast of England in 1969. From 1969 Konttinen lived in Byker, and for seven years photographed and interviewed the residents of this area of terraced houses until her own house was demolished. She continued to work there for some time afterward. This resulted in the book Byker, which in David Alan Mellor's words "bore witness to her intimate embeddedness in the locality". In 1980 she became the first photographer since the Cultural Revolution to have her work exhibited by the British Council in China. Konttinen's next project was a study of girls attending dance schools in North Shields, their mothers, and the schools. The book Step by Step came from this. The book was an influence for the film Billy Elliot. Three years of photographing the beach between Seaham and Hartlepool resulted in the series Coal Coast. Konttinen later returned to Byker and photographed its new residents in colour.Source: Wikipedia Sirkka-Liisa Konttinen is a photographer and filmmaker, best known for her work documenting working-class life in North East England. She is also co-founder of the Amber Film and Photography Collective, based in Newcastle Upon Tyne and the Side Gallery, dedicated to socially engaged documentary photography. Her documentation of Byker, the close-knit community of Newcastle, led to national recognition as a key photographic and filmic account of the rich working-class culture on the eve of its destruction. In 2003-09 she returned to the Byker Wall Estate that came to replace the original community, with her Byker Revisited/Today I’m With You book and film. Konttinen’s other long-term projects include Step by Step/Keeping Time, Hoppings, Writing in the Sand, Letters to Katja and the Coal Coast/Song For Billy. In 2011 her photography was inscribed in the UNESCO UK Memory of the World Register. She has exhibited widely, with her works held in multiple collections including the Finnish Museum of Photography, Helsinki, Museum of Fine Arts, Houston, The New York Public Library, Tate Modern, London, Victoria and Albert Museum, London and the AmberSide Collection Trust, Newcastle.Source: Artimage
Robert Polidori
Canada/United States
1951
Robert Polidori is a Canadian-American photographer known for his large-scale color images of architecture, urban environments, and interiors. His work has been the subject of solo exhibitions at the Metropolitan Museum of Art (New York), Musée d'art contemporain de Montréal, Martin-Gropius-Bau museum (Berlin), and Instituto Moreira Salles (São Paulo and Rio de Janeiro). His photographs are also included in the collections of the Museum of Modern Art (New York), New Orleans Museum of Art, The J. Paul Getty Museum (Los Angeles), Victoria and Albert Museum (London), Château de Versailles, Centre Pompidou (Paris), and Bibliothèque Nationale de France (Paris), as well as many private collections. Described as one of "most esteemed practitioners of large-scale photography," Polidori has photographed the restoration of the Château de Versailles since the early 1980s. He has also recorded the architecture and interiors of Havana, the inner-city habitats of Mumbai, Rio de Janeiro, and Amman, the post-Hurricane Katrina devastation of New Orleans, buildings emptied by the Chernobyl nuclear disaster, and shelled structures in Beirut. At the time of the Musée d'art contemporain de Montréal retrospective exhibition in 2009, curator Paulette Gagnon described his work as a "photographic account that invites us to share the historical moments it portrays, making them part of the collective memory." Where you point the camera is the question and the picture you get is the answer to decipher. -- Robert Polidori Robert Polidori was born in 1951 in Montreal, Quebec, Canada, to a French-Canadian mother and a Corsican father. At age 9, Polidori’s family moved to the United States where his father worked as an engineer at Air Force bases and NASA installations. He grew up in Seattle, southern California, New Orleans, and Cocoa Beach, and first attended university in Florida in 1969. During his freshman year, Polidori saw Michael Snow's film Wavelength (1967 film) and, inspired to study filmmaking, moved to New York City. The following year, he was hired by the legendary Jonas Mekas and worked as the theatre manager of the Anthology Film Archives. During this time, Polidori worked on four experimental films, exhibited in 1975 at the Whitney Museum of American Art. In 1980 he graduated with a Masters of Arts in film from State University of New York (Buffalo). Polidori became interested in still photography while editing film frame-by-frame. Inspired by Frances Yates' description in The Art of Memory of mnemonic systems requiring the memorization of empty rooms, he purchased a large-format camera in 1982 and photographed abandoned and apartments on New York's Lower East Side. In 1983 he moved to Paris and, interested in how empty spaces revealed history, began to document the restoration of Château de Versailles as a symbol of "society’s superego". In the late 1990s, Polidori was engaged by The New Yorker to photograph Havana’s decaying architectural heritage and joined the magazine as a staff photographer in 1998. Images from his Cuban series were later published in Havana (2001) by Steidl Verlag. Also interested in inner-city habitats or "auto-constructed" growth, Polidori recorded the favelas of Rio de Janeiro, the urban sprawl of Brasilia, the construction boom in Dubai, and the slums of Mumbai. In May 2001, he photographed the closed Chernobyl nuclear power plant and nearby ghost town of Pripyat, Ukraine, and these images were later published as Zones of Exclusion – Pripyat and Chernobyl (2003). In 2002 Polidori was commissioned to photograph Detroit's Michigan Central Station for Metropolis (architecture magazine). Described by editor Martin C. Pedersen as "a keen observer of the built world", the magazine later published his urban images as Robert Polidori's Metropolis (2005). In the wake of Hurricane Katrina in 2005, Polidori photographed the damaged homes and buildings of New Orleans, and documented the city's early restoration in 2006. Published as After the Flood (2006) by Steidl Verlag, many of these images were also exhibited at New York's Metropolitan Museum of Art as New Orleans after the Flood, a popular and well-attended exhibition. Exhibitions of After the Flood were also mounted in London, Venice, and Toronto, as well as in New Orleans. During this time, Polidori continued to document the restoration of Château de Versailles and these photographs, published in the three-volume Parcours Muséologique Revisité (2009), were included in his retrospective exhibition at the Musée d'art contemporain de Montréal. Polidori returned to Beirut in 2010 where he photographed the damaged rooms of the famous Hotel Petra, abandoned during Lebanon’s civil war. The following year, he traveled to Paris to photograph the stored art collection of Yves Saint Laurent (designer), and to Venice to photograph the fashion label Bottega Veneta's fall 2011 campaign at the Palazzo Papadopoli. From 2011 to 2015 Polidori also revisited and rephotographed Rio as well as Mumbai, including Dharavi's industrial street facade in a series of tracking shots. Exhibited as composite panoramic murals at Paul Kasmin Gallery (New York) in September 2016, these images were also published in the accompanying volume 60 Feet Road by Steidl Verlag. Since 2015, Polidori and his family live in Ojai, California.Source: Wikipedia My photos are physical graphic records. A lot of the places I’ve photographed simply won’t exist – many have already ceased to exist in the state that they were photographed in. They’ve been bulldozed over. Photography is collective memory – that’s its nature... -- Robert Polidori
Kenro Izu
Japan
1949
Kenro Izu (b. 1949) was born in Osaka, Japan. During his studies at Nippon University, college of art, Izu visited New York in 1970 to study photography, and subsequently decided to stay and work. In 1975, after working as an assistant to other photographers, Izu established Kenro Izu Studio in New York City, to specialize in still life photography, both commercial and fine art. In 1979, Izu made his first trip to Egypt, which inspired him to begin his series Sacred Places, an exploration that is still in progress. In 1983, a platinum print by Paul Strand inspired Izu to take a step toward developing his own contact-printing process using Platinum/Palladium, using a super large format camera. Since then, all of Izu's work is produced by the same technique, mostly in a 14x20 inch format. Izu's still-life images include floral and anatomical subjects. In 2000, Izu started experimenting with a technique of Cyano over Platinum to achieve deep blue-black. The body of work entitled, Blue, was completed in 2004. As Izu continues his series, Sacred Places, he has traveled to Egypt, Syria, Jordan, England, Scotland, Mexico, France and Easter Island (Chile). More recently, he has focused on Buddhist and Hindu monuments in South East Asia: Cambodia, Burma, Indonesia, Vietnam and, most recently Bhutan and India. Izu's work has been exhibited in numerous museums including the Arthur M. Sackler Gallery of Smithsonian Institution, Kiyosato Museum of Photographic Art, Cleveland Museum of Art, Peabody/Essex Museum, Museum of Photographic Art, Rubin Museum of Art, among others. He has published several books of his work including: Sacred Places, Kenro Izu Still Life, Passage to Angkor, and Eternal Light. In 1985, after a several visit to Cambodia to photograph the Angkor Wat, Izu decided to build and operate a free pediatric hospital, and founded a not-for-profit organization, Friends Withou A Border, to help children of Cambodia who suffer from lack of medical facilities and severe poverty. The Angkor Hospital for Children, which opened in 1999 in Siem Reap , Cambodia is now an official medical education center. Izu has been the recipient of the Catskill Center for Photography Fellowship in 1992, a NEA grant in 1984, the New York Foundation for Arts grant in 1985, the Lou Stouman Award in 1999, a Guggenheim Fellowship in 2001, the Vision Award from the Center for Photography at Woodstock in 2005 and a Lucie Award in 2007. Source: Howard Greenberg Gallery
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